Live Alive ($5 Blowout Price!)

Live Alive is a magnificent double-length showcase for Stevie Ray Vaughan's guitar playing, featuring a number of extended jams on a selection of most of the best material from Vaughan's first three albums, plus covers of "Willie the Wimp," "I'm Leaving You (Commit a Crime)," and Stevie Wonder's "Superstition." The album may not be exceptionally tight or concise, but then again, that's not the point. The renditions here sound less polished than the studio versions, with Vaughan's guitar tone bitingly down and dirty and his playing spontaneous and passionate." - Allmusic

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"Legendary British bluesrock guitar statesman, Robin Trower approaches his finest hour with 'time and emotion' his latest tune set. Trower's evocative note bends and signature tone along with his powerful lead vocals totally bring it. There are plenty of tightly knitted bass lines and drum grooves supporting RT's gut lifting sound to titillate the listener's ear. It is an unadulterated combustion of rock, blues and soul, lots of what Strat-fans crave from this unique artist. Track highlights include 'the land of plenty', 'i'm gone', 'bitten by the snake' 'if you believe in me', 'you're the one' and the title track 'time and emotion' but there are no weak tracks on this CD all there is is lots of classic Robin Trower! Catch Robin live on the upcoming Central and Western US tour. Watch while a master re-envisions tunes known and new. Listen as songs from the new CD transmogrify in live performance. Don’t miss it."

"Ten years after his first all-blues album, From the Cradle, Eric Clapton released Me and Mr. Johnson, an album-length tribute to his hero, the legendary bluesman Robert Johnson. Not that this is the first time Clapton has paid tribute to Johnson. Throughout his career, Clapton has not only drawn on Johnson for inspiration, but he has covered his songs at pivotal moments: "Ramblin' on My Mind" on his classic album with John Mayall, Bluesbreakers; "Four Until Late" on the first Cream album; and, most memorably, the rampaging cover of "Crossroads" on Wheels of Fire that became his anthem and arguably his defining moment. Considering this long history, perhaps a full-length tribute was inevitable, yet Me and Mr. Johnson still is welcome, in part because it's been a long time since this guitarist has sounded so comfortable and relaxed, as if he was having fun making music. With the possible exception of the spotty yet charming B.B. King duet album Riding With the King, this is simply the most enjoyable record he's made since From the Cradle, and in some respects it's a better blues album than that since it never sounds as doggedly serious as that guitar-heavy affair. Given the somber, sometimes chilling lyrics Johnson wrote -- Clapton admits that "At first [his music] scared me in its intensity," an accurate summary of the haunting nature of those 29 sides the bluesman cut in the '30s -- it's a little ironic that this tribute winds up being fun, not somber, but the light touch makes for a better album. That lightness comes from the deep love Clapton holds for this music, since the enthusiasm and enjoyment he and his band -- all the old regulars like Andy Fairweather-Low plus Billy Preston on keyboards -- give the performance results in the album's light, infectious feel. While that does result in versions of "If I Had Possession Over Judgement Day" and "Hell Hound on My Trail" that sound anything but haunted, they do sound nicely next to the up-tempo rave-ups of "They're Red Hot," "Last Fair Deal Gone Down," and "Stop Breaking Down Blues" since all of them sound like Clapton is having a hell of a good time. Some might take issue with this, and others may find the album too slickly produced -- admittedly, blues albums should never boast a credit for Pro Tools, as this does -- but this is a heartfelt tribute that's among Clapton's most purely enjoyable albums." - Allmusic

Legit reissue with 5 bonus tracks from this 1970 monster UK rarity. Red Dirt were a raw blues based quartet but their music had progressive and psychedelic overtones. Rippin' guitarwork through out. Recommended to fans of Incredible Hog, Human Beast, and Groundhogs."Red Dirt were a blues band formed in East Yorkshire around 1968 comprised of Dave Richardson (vocals), Steve Howden (guitar), Kenny Giles (bass) and Steve Jackson (drums) who built up an impressive live reputation in clubs and venues in the North of England. They were subsequently signed to Morgan Bluetown, When released in 1970, on the Fontana label, their self-titled debut album sunk without trace and legend - or rumour - has it sold something like 100 copies. In the last forty years Red Dirt has become a rare and expensive album with more people having heard about it than actually seen an original copy. Although valued in the 2010 edition of the Record Collector Rare Record Price Guide at E650 copies have sold for over £800 on eBay.But what was the story behind Red Dirt? Amazingly, when Record Collector announced the first vinyl reissue of the album in late 2009 the article was read by an aspiring American journalist Betsy Green who was in touch with original guitarist Steve Howden, now working as a delivery driver in Hollywood. Green interviewed Howden and four decades later we finally found out that the band came together after drummer Steve Jackson approached Howden in a pub in Bridlington in their native East Yorkshire. Howden was keen and Jackson's friends Kenny Giles and Dave Richardson were drafted in on bass guitar and lead vocals. Richardson had worked with future Hull legend Mick Ronson as well as Michael Chapman.The band attracted the interest of Morgan Bluetown who signed them. Red Dirt were put into the studio with producer Geoff Gill. "We recorded the album in Morgan studios London," recalls Howden, "McCartney finished his album in there which was a big buzz for us. They booked us in from midnight onwards, to six in the morning and the album didn't take that long, around twelve hours I think. They managed overdubs for the vocals to get them right but I don't think they ever put them on. It was all very rushed and was only ever released in England" In fact the album was licensed by Morgan to the Fontana label who released Red Dirt in 1970 and it literally vanished without trace.There has been much speculation in recent years as to whether legendary record sleeve designer Barney Bubbles was responsible for the eye-catching sleeve image of a red Indian with 4 bullet holes in his forehead dripping blood. The rear sleeve credits the design to Teenburger, Bubbles Notting Hill based company. As a number of people worked for Teenburger it is impossible to confirm if Bubbles had a hand in the, sleeve design.As for the music, Red Dirt is a lost classic. There is an element of the Doors Morrison Hotel period and a whiff of Captain Beefheart and The Magic Band in the rocking driving blues of tracks like Death Letter and Problems. Song For Pauline on the other hand harks back to the Delta of Robert Johnston comprising of only slide guitar and vocals. Memories and In The Morning were probably considered as songs fit for release as singles as both have a compelling commercial edge and benefit from more extensive arrangements which the band augmented by what sounds like a mellotron and an organ that gives their powerful music more texture and depth.That Red Dirt's natural musical chemistry was honed on the live circuit is demonstrated on the riff and harmonica prowl of Ten Seconds To Go and the driving locomotive engine of Maybe I'm Right. There is also the acid smoke-folk of Summer Madness Laced With Newbald Gold which opens with Richardson groaning and laughing against a dirty guitar riff and the song is then propelled forward by drum pattern straight out of Safe As Milk. "It seems as if the red dirt is blowing into my eyes," sings Richardson on this outstanding track which sadly reflected the critical and commercial indifference that greeted the release of the album. It appears that the band later returned to the studio to record additional material earmarked for a second album that was, according to one press report when the band were supporting Mott The Hoople on a tour in January 1971 "nearing completion and should be available shortly".Sadly, the young Red Dirt dudes never did issue that second LP but this CD features five bonus tracks featuring Ron Hales on guitar who had replaced Steve Howden. So, as well as enjoying their debut you can also get down in the dirt and wrap your ears around From End To End, Yesterday And Today, The Circle Song, I'd Rather Go Back 15 Years and Tolly Cobbold. Thanks to Secret Records you don't have to pay an arm and a leg to do so!by Ian Shirley, Record Collector magazine" - Rockasteria

"Blues-Rock veterans, the Stoney Curtis Band, returned to the studio in Las Vegas this summer in follow-up to their 2012 double-live release. The resulting CD, Halo Of Dark Matter, is a high-energy collection of guitar-oriented jams, that recalls the stadium guitar heroes of the 70's. This fifth record in Stoney's discography takes things up a couple of notches as his songwriting and soloing skills ascend to yet a higher plateau. The Stoney Curtis Band has been working the clubs between Los Angeles and Las Vegas, for over 10 years, honing their own brand of psychedelic Blues-Rock, readying their show for the road ahead. Over the past few years the band has done a number of USA tours and six European tours as well. Heavily steeped in 60's/70's Psychedelia, the Stoney Curtis Band has translated the energy of their phenomenal live show into an incredible new studio disc containing over 70 minutes of full tilt Blues-Rock."

"Soul Serenade (Columbia) by the Derek Trucks Band is one of the best albums I have heard this year. It won't matter how this album is classified, either, because it has it all. For those who liked Allman Brothers guitarist Trucks on his eponymous band's major-label debut, 2002's Joyful Noise, will find this CD to be even more impressive. Soul Serenade was actually recorded three years ago, before Joyful Noise, but is being released only now. It's been worth the wait because the Derek Trucks Band is hitting on all cylinders from start to finish.The album begins with covers from two musical music legends-King Curtis and Bob Marley. Trucks uses "Soul Serenade" by Curtis and "Rasta Man Chant" by Marley to deliver one of the more exhilarating musical moments of the year. Trucks' guitar-sling and the fine work of his band show that the difference between the rock-steady beat of Jamaican reggae and Afro-American soul is so slight that it hardly matters. The next track, "Bock to Bock," is even better. Bassist Todd Smallie and drummer Yonrico Scott set the table for the band to deliver a powerful yet subtle swinging blues number. Trucks is on the case with his ax, and his band stays tight and focused at all times, letting the guitarist roam where he needs. The magic of this album doesn't end there although the first two songs will leave you awestruck.The Derek Trucks Band then pumps the soul classic "Drown in My Own Tears," with Gregg Allman providing a heavy, blues-drenched vocal, which is followed by a tricky version of Mongo Santamaria's "Afro Blue." By this point you will have no doubt about the importance of Derek Trucks and his band. They defy category. They challenge those preconceived conclusions that often muzzle music, and they will leave you wondering why this album had been held up for so long." - Jazz Times

"It’s hard to believe that guitar whiz Derek Trucks is a mere 23 years old. After all, he and his band have four albums under their belts, and he’s been serving as the Allman Brothers Band’s slide guitarist for the past few years (his uncle Butch Trucks is also a band member), but don’t let his age fool you. He’s one mighty fine guitar player, sounding decades more mature than his age would suggest. Obsessed with music from all over the world, not just the blues-rock that you’d expect, Trucks is striving toward something a little more special, more timeless than mere barroom blooze, blending instrumentals with guest vocalists.On their new album Joyful Noise, the Derek Trucks Band don’t merely dip their toes into world music, they dive headfirst into it, creating a meandering soundscape that, despite slowing down a couple of times, provides the listener with an enjoyable time. The opening track, “Joyful Noise”, has a straight-ahead, funky groove to it, sounding like Booker T & the MGs at a spiritual revival, sounding as ecstatic as the title suggests. “Every Good Boy” continues in a similar funk vein, this time carried by a slinky organ lick, and some simple, yet catchy solo lines by Trucks. The blues-tinged ballads “So Close, So Far Away” and “Frisell” are decent, but start to sound plodding after several minutes.cover artTHE DEREK TRUCKS BANDJOYFUL NOISE(COLUMBIA)US: 3 SEP 2002UK: 30 SEP 2002AMAZONITUNESFortunately, those are the only two disappointing tracks, and the rest of Joyful Noise is very good. Veteran soul singer Solomon Burke, who is experiencing quite the career revival this year, lends his fine, fine voice to two tracks. On the superb “Home in Your Heart”, a tune he originally recorded in 1963, Burke sounds like a man who hasn’t aged a day in forty years, and on the new song “Like Anyone Else”, he steals the show with his powerful voice. The collaboration with Pakistani Sufi singer Rahat Nusrat Fateh Ali Khan (nephew of the legendary Nusrat Fateh Ali Khan) on the Qawwali song “Maki Madni” is an interesting change in pace, with Rahat’s distinctive voice meshing beautifully with the band’s Eastern rhythms and Trucks’ solo harmonies. Salsa stalwart Ruben Blades guests on the Latin effort “Kam-ma-lay”, to great effect, and Mrs. Derek Trucks herself, noted blues artist Susan Tedeschi pops in to sing on the Joe Tex song “Baby You’re Right”.Although Derek Trucks is the bandleader, the quartet, through its relentless touring, has evolved into quite a tight little unit itself. Bassist Todd Smallie has been playing with Trucks for nearly a decade already, and he and veteran percussionist Yonrico Scott provide an expert rhythm section, able to leap from genre to genre in the blink of an eye. The versatile Kofi Burbridge provides some good keyboard work (especially on the Hammond organ on the title track) and some pretty darn amazing flute playing, as well as supplying some original compositions of his own. The band’s great versatility shines on the electric jazz composition by Burbridge called “Lookout 31”; the quartet’s syncopation is impeccable, as Smallie and Scott hold the fort while Trucks and Burbridge let loose with the most adventurous harmonies and solos on the album.However, Derek Truck still is the star of the show, and his guitar solos are the album’s main focus. Far from a self-indulgent, noodling showman who opts for bland style, Trucks goes for the more understated substance. Like Carlos Santana, he lets the notes speak for themselves, stretching them out soulfully, in the same way a horn player sustains notes, but unlike Carlos Santana, he’s not surrounding himself with mediocre, popular guest musicians in a cheesy move to sell units. The album is slick, but not overproduced in the least, the jamming never gets too self-indulgent, and Trucks’ diverse choices in guest vocalists, and his band’s undeniable talent, make Joyful Noise sparkle with life." - Pop Matters

Digipak edition comes with a bonus live DVD."Using the mystic sounds of the late 60’s and early 70’s as their base, the Blue Pills continue to blend a sweet concoction of blues-rock on ‘Lady In Gold’.The title track gets things off with a fist in the air rock anthem. The droning keyboards form the backdrop for the electric vocals of Elin Larsson as the song builds up to the chorus. Dorian Sorriaux’s guitar is soaked in overdriven furry fuzz and bleeds reverb and swooshing phaser giving off a strong psychedelic vibe.While there is no denying that the Blue Pills have a love affair for the glory days of psychedelic rock and soul, they make this genre all their own with inventive melodies and hungry rhythms that seek to nest within the essence of your being. This is hammered home on the space rocking “Little Boy Preacher” and the tripped out “Elements and Things”. Elin channels the scorching tones of Janis Joplin and Grace Slick with a hint of Adele, yet her voice is all her own and it is glorious.The blue roots of the Blue Pills are exposed on “You Gotta Try”. Andre Kvarnstrom instinctively knows when to lie back and when to kick the beat in the ass. His drumming is understated, yet drives the intensity of changes through out the song. Andre has an uncanny sense of when to throw in some flash and when to ride the wave. Zach Anderson’s driving bass gets some well-deserved attention on “Rejection” as he provides the pulsing power that propels this soulful rocking tune. The whole band is on fire with this song and I think it is the standout track on the album. Start to finish; this song embodies the soulful passion of the Blue Pills.‘Lady In Gold’ showcases the soulful majesty and love of music that makes the Blue Pills a joy to listen to. Each song embraces the psychedelic fueled blues-rock of pioneers Jefferson Airplane, Iron Butterfly and the Chi-Lites while retaining their originality. It is time to sew a new freak flag blazing with the day-glory of the Blue Pills." - Metal Wani

I have to plead ignorance. Until recently I never heard of Innes Sibun. Turns out the guy is a world famous British electric blues guitarist. Back in 1993 he was a member of Robert Plant's touring band and has a signficant solo career. Can't Slow Down was recorded with his quartet live at the Estro in Harderwijk, Netherlands on March 12, 2011. This disc burns beginning to end. If you are a fan of Rory Gallagher or Roy Buchanan and even guitarists along the lines of Hendrix and Trower you need to hear this guy. Serious wah wah laced guitar driven excursions with backing of keys and a solid rhythm section. A scorcher!! Highly recommended.

"When Gregg Allman was asked why Dickey Betts was kicked out of the Allman Brothers Band in the spring of 2000, he is reported to have suggested the answer lay in the tapes from the group's two-week stand at the Beacon Theatre in New York. That makes it surprising that the Allmans would turn to those tapes to assemble their first new album release in five and a half years, Peakin' at the Beacon. Happily, however, there is no evidence of Betts' alleged shortcomings on the disc, though it must be admitted that, since he is one of two lead guitarists (the other being Derek Trucks, making his recorded debut with the band), it isn't always easy to tell who is playing. There is plenty of guitar work, and it is up to the Allmans' usual standard. Following the instrumental opener, Gregg Allman sings lead on seven straight songs, all of which come from the band's first three studio albums. Betts finally appears as a vocalist on the ninth track, the 1990 folk-country tune "Seven Turns." Finally, there is a 27-and-a-half-minute version of the 1975 Betts instrumental "High Falls," a typical extended workout complete with jazzy interludes and a lengthy percussion section. the Allmans may not have been due for another live album (two of their last three releases being concert recordings), but the series of Beacon shows has become an annual event, and the disc serves as a souvenir from the March 2000 shows. Fans who attended those shows, or who just want to be reassured that the Allmans sound much the same as ever, may enjoy the album; less devoted listeners probably shouldn't bother." - Allmusic

"Using the mystic sounds of the late 60’s and early 70’s as their base, the Blue Pills continue to blend a sweet concoction of blues-rock on ‘Lady In Gold’.The title track gets things off with a fist in the air rock anthem. The droning keyboards form the backdrop for the electric vocals of Elin Larsson as the song builds up to the chorus. Dorian Sorriaux’s guitar is soaked in overdriven furry fuzz and bleeds reverb and swooshing phaser giving off a strong psychedelic vibe.While there is no denying that the Blue Pills have a love affair for the glory days of psychedelic rock and soul, they make this genre all their own with inventive melodies and hungry rhythms that seek to nest within the essence of your being. This is hammered home on the space rocking “Little Boy Preacher” and the tripped out “Elements and Things”. Elin channels the scorching tones of Janis Joplin and Grace Slick with a hint of Adele, yet her voice is all her own and it is glorious.The blue roots of the Blue Pills are exposed on “You Gotta Try”. Andre Kvarnstrom instinctively knows when to lie back and when to kick the beat in the ass. His drumming is understated, yet drives the intensity of changes through out the song. Andre has an uncanny sense of when to throw in some flash and when to ride the wave. Zach Anderson’s driving bass gets some well-deserved attention on “Rejection” as he provides the pulsing power that propels this soulful rocking tune. The whole band is on fire with this song and I think it is the standout track on the album. Start to finish; this song embodies the soulful passion of the Blue Pills.‘Lady In Gold’ showcases the soulful majesty and love of music that makes the Blue Pills a joy to listen to. Each song embraces the psychedelic fueled blues-rock of pioneers Jefferson Airplane, Iron Butterfly and the Chi-Lites while retaining their originality. It is time to sew a new freak flag blazing with the day-glory of the Blue Pills." - Metal Wani

"By the time this long-player hit the street, Roy Buchanan (guitar/vocals) had already departed from his oft-acrimonious relationship with Polydor Records. To their credit, the label issued Live Stock (1975), which captured the artist in performance at Town Hall in New York City on November 27, 1974. This disc features the recently corralled combo of Bill Price (vocals), John Harrison (bass), Malcolm Lukens (keyboards), and Byrd Foster (drums/vocals). Interestingly, the instrumentalists would reconvene behind Buchanan for his next two studio albums, A Street Called Straight (1976) and Loading Zone (1977), as well as the thoroughly superior, import-only Live in Japan (2003). With the exception of the seminal Snakestretchers, this aggregate would stay with the guitarist for longer than any of his numerous other support bands. Practically by default, having returned Buchanan to the stage, the music instantly becomes more conducive to inspiration. The set list highlights both a sampling from earlier efforts, as well as a few covers that are personalized by Buchanan's inimitable stringed artistry. Whether by design or serendipity, each track focuses on his animated solos. Ranging from the driving boogie of Roy Milton's "Reelin' and Rockin" [note: not to be confused with Chuck Berry's rock & roll anthem of virtually the same name] to the stinging fretwork that commences the Memphis soul of Al Green's slithery "I'm a Ram," Buchanan is undeniably at the peak of his abilities. The spirited reading of "Further on up the Road" is particularly worthwhile, as his leads alternately from a rapid-fire slide action to emphatic wails that punctuate the melody with equal measures of deadly accuracy and limber precision. Live Stock is a primary recommendation for all dimensions of blues guitar lovers and those interested in experiencing the craftsmanship of the man once hailed as "The Greatest Unknown Guitarist In The World."" - Allmusic Guide

"Cricklewood Green provides the best example of Ten Years After's recorded sound. On this album, the band and engineer Andy Johns mix studio tricks and sound effects, blues-based song structures, a driving rhythm section, and Alvin Lee's signature lightning-fast guitar licks into a unified album that flows nicely from start to finish. Cricklewood Green opens with a pair of bluesy rockers, with "Working on the Road" propelled by a guitar and organ riff that holds the listener's attention through the use of tape manipulation as the song develops. "50,000 Miles Beneath My Brain" and "Love Like a Man" are classics of TYA's jam genre, with lyrically meaningless verses setting up extended guitar workouts that build in intensity, rhythmically and sonically. The latter was an FM-radio staple in the early '70s. "Year 3000 Blues" is a country romp sprinkled with Lee's silly sci-fi lyrics, while "Me and My Baby" concisely showcases the band's jazz licks better than any other TYA studio track, and features a tasty piano solo by Chick Churchill. It has a feel similar to the extended pieces on side one of the live album Undead. "Circles" is a hippie-ish acoustic guitar piece, while "As the Sun Still Burns Away" closes the album by building on another classic guitar-organ riff and more sci-fi sound effects." - All Music Guide

"After a year of personal and personnel problems, the Allman Brothers Band got back together to record the surprisingly consistent live-in-the-studio venture Where It All Begins. It lacks the ambition and stretch of Seven Turns or Shades of Two Worlds, along with their peaks, but it is still a solidly consistent album, driven by some of the virtues of live spontaneity. Highlights include Gregg Allman's frank drug song "All Night Train," the Bo Diddley-beat-driven "No One to Run With," and the glorious dual-guitar workout "Back Where It All Begins."" - All Music Guide

"Building from the jazz fusion foundation of Pretzel Logic, Steely Dan created an alluringly sophisticated album of jazzy pop with Katy Lied. With this record, Walter Becker and Donald Fagen began relying solely on studio musicians, which is evident from the immaculate sound of the album. Usually, such a studied recording method would drain the life out of each song, but that's not the case with Katy Lied, which actually benefits from the duo's perfectionist tendencies. Each song is given a glossy sheen, one that accentuates not only the stronger pop hooks, but also the precise technical skill of the professional musicians drafted to play the solos. Essentially, Katy Lied is a smoother version of Pretzel Logic, featuring the same cross-section of jazz-pop and blues-rock. The lack of innovations doesn't hurt the record, since the songs are uniformly brilliant. Less overtly cynical than previous Dan albums, the album still has its share of lyrical stingers, but what's really notable are the melodies, from the seductive jazzy soul of "Doctor Wu" and the lazy blues of "Chain Lightning" to the terse "Black Friday" and mock calypso of "Everyone's Gone to the Movies." It's another excellent record in one of the most distinguished rock & roll catalogs of the '70s." - All Music Guide